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Awakening Faun (1914) |
Keith Haring. David Hockney. Robert Mapplethorpe. I am familiar with the work of many gay artists. Other artists’ sexuality I only discovered by chance. I go to an art museum, see a work I like, Google the painter or sculptor and, every so often, I stumble upon the fact they are (or were) gay. Marsden Hartley. Maurice Sendak. The works speak for themselves but still I feel a sense of pride that the artist is/was “one of us.”
Last fall , I discovered another gay artist while wandering through the Ateneum, an art museum in Helsinki. Unlike Hartley who’s best known for his landscapes or Sendak, known for Wild Things, the pieces I saw on exhibit by Magnus Enckell strongly suggested the artist might be gay. Born in Hamina, Finland in 1870 and dying in Stockholm in 1925, some of Enckell’s bright paintings focused on the naked or semi-naked male form when for most of art history so many artists have been seemingly obsessed with female nudes.
Enckell’s first oil painting on exhibit that made me take notice was Awakening Faun from 1914, the figure being a young, pretty, lean, muscular male in repose, naked except for an orange fabric draped over his privates. The young man looks contemporary, the background a vibrant landscape of forest greens with yellow sun peeking through. Most artists of Enckell’s time would have had a bare breasted woman as the foreground subject matter instead.
Hmm. Gay, perhaps, I deduced.
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Resurrection (1907) |
As I wandered into another exhibit room, I came upon Enckell’s Resurrection (1907), a religious study painting for an altarpiece for Tampere Cathedral. While religious art features considerable nudity, this work, in softer tones than Faun, doesn’t just feature a naked Jesus rising from a burial plot. Instead, there are five men, nude or semi-nude. Enckell seems to take license with the resurrection story and apparently the parishioners and clergy of the church in Tampare, Finland were liberal or oblivious enough to accept Enckell’s interpretation. As a casual museumgoer, I got a clear sense Enckell was pushing things into an intentionally provocative realm. The fact his study painting became a mural work in the church shows he succeeded.
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Fantasy (1895) |
I didn’t Google Enckell until I returned from my trip in Northern Europe. Ateneum held a special exhibit of his work in 2020, describing him as “one of the most significant names of the golden age of Finnish art.” Other works featured in the exhibition included a seated naked boy in 1983’s Boy with Skull, a shirtless young man in 1895’s Fantasy and a nude young man sitting up in bed in 1894’s The Awakening. Aside from the monochromatic Boy with Skull, these works seem to have homoerotic overtones.
According to Wikipedia, citing a text in Finnish, “It is generally believed that Enckell was a homosexual, as seems indicated in some erotic portraits which were quite uninhibited for their time, but his homosexuality has never been officially proven.” Enckell is listed in Who’s Who in Gay and Lesbian History: From Antiquity to World War II where it is noted he had a son though he never married the mother and his “private life has aroused fairly little interest. His love affairs with men have not been denied but they have been considered irrelevant.” As it should be, if history didn’t note personal lives of artists in general. But such is not the case.
The point is, my gaydar was activated as I regarded two of Enckell’s works. It seems affirmed by other paintings viewed online. I don’t actively seek out gay bars or gay activities when I go on vacation but discovering and further exploring the work of Magnus Enckell while visiting a Finnish museum was an unexpected bonus to the trip.